ArtSlant - Current exhibits http://www.artslant.com/cn/Events/show en-us 40 Cédric Maridet - 2P Contemporary Art Gallery - October 17th, 2012 - December 5th, 2012 <p><b><i>“Distinct Factures. A Return from Langsdorff”</i></b> appoints the theoretical concept of transforming the gallery space into a Wunderkammer, a chamber of curiosity that fascinated many predecessors in the Renaissance. Maridet borrows this practice as a point of departure, adopting the form of an assemblage, to simultaneously explore the possibility of an re-enaction of a particular sensual engagement within a milieu of overlapping subsystems with the use of different modes of writings and signs – a development of an abstract but original signifier to synthesize an experience of firstness that was initially a mere potential; the significations and unavoidable limits in the translation of an existing physical reality to representation; and the gap between different perceived spatiotemporal worlds of different organisms in the same territory. Recently returned from residencies in the rainforest in Brazil and in Penang’s National Park, Maridet takes The Langsdorff Expedition (1826-1829) led by Baron von Langsdorff in Brazilian Amazon as an analogy to directly evoke the scientific and methodical undertone of the encyclopedic assortment of works in this exhibition.</p> <p> </p> <p>The exhibition incorporates works on paper, video, installations and sound compositions. This miscellaneous collection of intricately fabricated works urges the audience to decode a stratum of signs and generate their own translation along the way through Maridet’s transposition in his oeuvres. Through a systematically organized perception experience and the act of recording, different samples of signs are constructed to become a possible descriptive form of a particular territory (a specific, subjective, spatiotemporal world); to represent nodes of opportunity and open pathways to new potentials of knowledge, representation, imagination and narratives; to create a new syntax of the world.Exhaustive sources of sensual experience and the overlapping yet different animalities within an intricate internal landscape are taken collectively as the keynote of this exhibition. Audience will find though, they remain largely absence; unseen and unheard. In this particular moment of time, Maridet has set himself off to the outlying perceptual territory,to exhaust the limitless representation possibilities and to seek to get out of oneself through a work of defamiliarisation in creating alternatively a distinct facture to delineate the world.</p> <p> </p> <p><b>About the artist </b></p> <p>CédricMaridet is an artist, theorist and researcher. He completed his Doctorate degree in Media Art in 2009 at the School of Creative Media, City University of Hong Kong. His solo and collaborative works have been presented internationally including New York (Art in General and Ramiken Crucible), Paris (Théatre de la Villette), Vienna (IG BildendeKunst), Cambridge (Kettle’s Yard), London (Turbine Hall, Tate Modern), Hong Kong (Para/Site, Osage Gallery, Hong Kong Museum of Art), and he was awarded Prize of Excellence in the Hong Kong Art Biennial 2005. Maridet has participated in several residencies and symposiums on field recording, listening theories and the aesthetics of sound, such as the Pierre Schaeffer symposium 2010 co-organised by GRM and in the EMF-EMS 2011 conference in New York University. His writings have been published in two books: Around (soundpocket, 2010), and Who Cares? 16 essays on curating in Asia, (Para/Site, 2010). Since 2007, Maridet has been contributing to the French-based research lab in audio art Locus Sonus, and is currently a member of NMSAT Scientific Committee. He is also advisor for soundpocket, a non-profit organisation promoting sound art and culture. His works have been published as CD and book releases on monème (www.moneme.com), a platform founded by Maridet.</p> <p> </p> Wed, 26 Sep 2012 11:04:24 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Linnea Strid, Yosuke Ueno, Joao Ruas, Esao Andrews, Amy Sol, Audrey Kawasaki, Brian M. Viveros, Dabs Myla - Above Second - November 16th, 2012 - January 12th, 2013 <p>Los Angeles based gallery <em>Thinkspace </em>has teamed up with <em>Above Second </em>in Hong Kong to present<strong> ‘LAX / HKG’</strong>. This special group exhibition has been curated by <em>Thinkspace </em>to help introduce their roster to Hong Kong. Featuring two new original works each from the likes of <strong><em>Amy Sol, Audrey Kawasaki, Brian M. Viveros, Dabs Myla, Esao Andrews, Joao Ruas, Linnea Strid</em></strong> and <strong><em>Yosuke Ueno</em></strong>, the exhibition will run from November through January.</p> <p>With this special exhibit <em>Thinkspace</em> aims to shed light on the burgeoning New Contemporary Art Movement that was birthed in Los Angeles and continues to spread out the world over, gaining momentum and winning over new devotees at an astounding rate. With roots firmly planted in illustration, pop culture imagery, comics, street art and graffiti, put quite simply the New Contemporary Art Movement is art for the people. This exciting and challenging movement is showcased in ‘LAX / HKG‘ via the works of eight artists from around the world who create within a wide array of styles.</p> <p>Whether you prefer the subtle feminine lines of Audrey Kawasaki, or the bold deep coloration of Brian M. Viveros, the diversity and complexity of the works shown will surely excite your imagination.  Each artist represents a unique aspect of the current contemporary art climate.  Some show greater influence from anime others from street art, but all give a refreshing perspective and truly push the envelope of current trends. Come discover your new favorite artist and enjoy this special collaboration between Los Angeles’s <em>Thinkspace </em>and Hong Kong’s own <em>Above Second</em>.</p> <p> </p> <p><strong>Above Second is honored to be releasing Audrey Kawasaki’s first special edition print in Asia.  50 prints will be available for purchase at the opening reception ONLY November 16<sup>th</sup> from 6 – 10 PM.  Come early, as we’re expecting a line up!</strong></p> <p> </p> <p>位於洛杉磯的 Thinkspace 畫廊聯同香港畫廊 Above Second,即將合作舉辦<strong>‘</strong><strong>LAX / HKG’</strong>畫展 。‘LAX / HKG’由Thinkspace策劃,展出 <strong>Amy Sol</strong>、<strong> Audrey Kawasaki</strong>、<strong> Brian M. Viveros</strong>、<strong> Dabs Myl</strong>、<strong> Esao Andrews</strong>、<strong> Joao Ruas</strong>、<strong> Linnea Strid </strong>和<strong> Yosuke Ueno</strong> 各兩幅新作。展期由二零一二年十一月十六日至二零一三年一月十二日。展覽開幕將在十一月十六日(星期五)6-10PM 舉行。</p> <p>Thinkspace 對於獲得在香港展出的機會感到十分榮幸,希望透過展示畫廊一向支持的藝術家的作品,把源於洛杉磯的 New Contemporary Art Movement 帶到作為國際大都會的香港以及亞洲。 New Contemporary Art Movement 紮根於插畫、流行文化、漫畫、街頭藝術和塗鴉,題材離不開生活,因此 ‘LAX / HKG’正是捕捉這個movement的精髓,把8 位 來自世界各地的藝術家不同風格的作品呈現在觀眾眼前。</p> <p>無論你喜歡 Audrey Kawasaki 細膩而女性化的畫風,還是Brian M. Viveros 作品黑暗而性感的風格,‘LAX / HKG’多元化的展出都能夠為你帶來無限的想像空間。各畫家代表著現今當代藝術不同的元素。不過,不論是傾向漫畫風,還是街頭藝術風,畫家都以湛新的角度 挑戰現有的潮流。不妨來到 Above Second 和 Thinkspace 畫廊合辦的‘LAX / HKG’畫展發掘出你喜愛的畫作吧!</p> <p><strong> </strong></p> <p><strong>Above Second將於</strong><strong>‘</strong><strong>LAX / HKG’</strong><strong>的開</strong><strong>幕(</strong><strong>十一月十六日</strong><strong> 6-</strong><strong>10</strong><strong>pm),發行 Audrey Kawasaki 於亞洲首度推出的限量版絲網版畫!數量有限(50份), 切勿錯過!</strong><strong></strong></p> <p> </p> <p><strong>About Thinkspace </strong></p> <p>Established in November of 2005 as a joint effort between <strong>Sour Harvest</strong> and <strong>Cannibal Flower</strong>, <strong>Thinkspace </strong>exists as a catalyst for the ever expanding new contemporary art movement that is exploding forth from the streets and art schools the world over. The gallery aims to help represent this new generation of artists, to provide them that home base and to aid them in building the right awareness and collector base necessary for long-term growth.</p> Sun, 04 Nov 2012 00:29:08 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Dorothy M Yoon, Hayoung Kim, Hyojin Park - Amelia Johnson Contemporary - November 8th, 2012 - December 1st, 2012 <p>Amelia Johnson Contemporary is delighted to announce, Ironic Mythologies. Featuring three of Korea’s most active young artists - Dorothy M Yoon, Hayoung Kim and Hyojin Park, the works have been carefully selected by London and Seoul based, independent curator and art consultant Heejin No of Bright Treasure Ltd. Ironic Mythologies presents three visual languages created by these talented female artists to convey their beliefs, fantasies and challenges in order to draw attention to and even question several social taboos. Initially, their works overwhelm with their vibrant and contrasting colours and techniques. These provocative photographs, stainless steel forms protruding from the wall and effervescent acrylics on drafting films and polyester are united by the artists’ shared experiences and struggles to find their own independent identities following their departures from a society preoccupied with perfection and the preservation of traditional gender roles. Yoon, Park and Kim are all Korean-born graduates of two of the most prestigious arts colleges in London, U.K. While the artists come from different social and economic backgrounds, the complexity of their works gives an insight into the difficult choices they have faced in order to overcome traditional Korean perspectives and succeed as female artists internationally. The title of the exhibition not only describes their individual techniques and concepts but also serves as a comment on their personal stories. Through intense reflection and careful training, each artist has developed their own visual language as a means to communicate, as well as bridge, the cultural and psychological gaps between Eastern and Western Idealism. Yoon explores her fantasies by adopting various guises. In her ‘8 of Heroines’ series, the artist juxtaposes eight of the Grimm Brothers’ most beloved heroines, with blond hair and oriental features similar to Yoon’s own, against fantastical, Asian-inspired landscapes recreating her childhood fantasies and posing thought-provoking questions about societal expectations of beauty and the pressures that cultural trends place on females today. Kim’s use of unconventional mediums is innovative and perceptive. Her multi-layered paintings are created using transparent films and opaque polyester fabric. These plastic-like surfaces compliment her cartoon-style imagery. In the multi-layered films, her painting represents elapsed time, perspective, and various actions that are then combined into one harmonious work. In her ‘Eat All You Can’ series, Kim shows us a very vivid picture of how people in our contemporary society consume too much information; in the form of advertisements, iconic images and emoticons from various media, and lack the power to filter and select. Park’s abstract forms of sculptural figures with painted eyeballs, innocent objects and bright images comprise her ‘Kpop Venus’ series, which has been derived from her 2010 ‘My Eyes Beheld the Glory’ series. Rather erotic and organic forms represent traditional notions of women’s physical and social obligations contrasted and provoked with colourful painterly patterns of naïve and childish objects. The eyeballs represent gazes of prejudice, jealousy, happiness and other emotions that women imagine or experience. Park’s version of Venus is a statement on the new millennium female’s social and notional designations. Historical Venuses have related contemporaneous thinking on female roles and have been manifested through different legendary and womanly figures including Venus of Willendorf and Venus of Milo in the West and statues of Buddhist Bodhisattvas in the East. : ABOUT BRIGHT TREAUSRE ART PROJECTS Founded in 2006 by Heejin No, BTAP is an art consulting company based in London and Seoul. It has served master piece research and collection management for high profile collectors since its establishment. BTAP also has dedicated its resources to supporting and promoting emerging artists and new trends through collaborations internationally. Ms No has been an active contributor to art magazines and newspapers and acts as a Project Director of ‘Korean Art: Power of Now’ jointly published by TransGlobe and Thames &amp; Hudson in 2013.</p> Fri, 02 Nov 2012 01:48:47 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Rania Ho, Elaine W. Ho - Arrow Factory - November 8th, 2012 - December 31st, 2012 Mon, 31 Dec 2012 22:29:38 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Vincent Breed - Art Beatus Gallery - Hong Kong - November 8th, 2012 - November 28th, 2012 <p>CAPTIVATING French contemporary glass sculptor, Vincent Breed will stage his first Hong Kong solo exhibition in Art Beatus Gallery starting November 8 until November 28, 2012.</p> <p>The exhibits will explore the links between elements as a chain reaction.  These uniquely designed blown glass sculptures compose of several elements made to explore their interactions with people.</p> <p>The artist's works continue gaining momentum in Asia.  His impressive glass sculptures are featured at the prestigious residential developments of Bel-Air in Cyberport, Island South &amp; One Pacific Heights in Sheung Wan, Hong Kong.</p> <p>The sculptures have also been shown at the Shanghai Contemporary Art Fair and a "Duet" exhibition as part of the 2011 Le French May programmes in Hong Kong.</p> <p><br /> Based in Lyon, France.   Vincent works between Europe, the USA and Asia on glass projects for private collectors and galleries.  Vincent has collaborated with numerous internationally famous designers, such as Yves Saint Laurent, Jean Nouvel, Matali Crasset and Hilton Mc Connico.  He has been invited as a consultant for the Hong Kong Design Institute as well.    </p> <p>                         <br /> His latest project is a daring artistic intervention on a public space in the historical French town of Nancy, which is famous for its "Art Nouveau" and the "Ecole de Nancy".</p> Wed, 31 Oct 2012 02:54:37 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Hiroshi Mori, Louise Lee - Art Experience Gallery - November 17th, 2012 - December 17th, 2012 <p style="text-align: justify;">It was one day in June. A double rainbow stretched over Victoria Harbour, attracting crowds to take pictures of its beauty. That was certainly a memorable moment worth capturing and sharing with others.  Some people say rainbow is a symbol of hope because it emerges after a heavy rain.  Hence analogically, we see “hope” smiling at us when we look up to the sky in the aftermath of adversity.</p> <p style="text-align: justify;">This is a turbulent time characterized with frequent natural disasters, dramatic economic ups and downs, as well as fierce political strife.  Consequently, people are driven to anxiety and stress, and live a life overshadowed by uncertainty.  Many people have lost the vigor to live on.  Yet Japanese artist Hiroshi Mori and Hong Kong artist Louise Lee, despite that they reside on two different lands separated by the East China Sea, coincidentally seek to let the audience see the bliss of hope and receive positive energy from their works through portraying children.</p> <p style="text-align: justify;">Hiroshi Mori blends innovative painting effects with the Rimpa school of traditional Japanese painting.  He is then able to create elegant and detailed representation, for example, a touch of sadness is conveyed through slowly drifting leaves against rich colours.  Furthermore, the artist tells us not to be misled by the wandering images of the back of children, who indeed are not lonely at all as they will encounter companions, that is, cats and friends, in the forest.  Hiroshi Mori deliberately hides the children’s faces to give us the opportunity to think up their facial expressions.  This allows us to stand in the role of the children and offers us room for imagination.  Although we are surrounded by unhappiness, the choices of mood are open for us.  Therefore, mood, good or bad, is a choice.  When you study the works of Hiroshi Mori carefully, you will feel hope is there all the time.</p> <p style="text-align: justify;">Louise Lee teaches art to Japanese children in Hong Kong.  She interacts with them often and understands them.  The Japanese children are not spoiled though well taken care of by their parents and schools.  They greet every day with a big smile.  Louise Lee likes to observe their behaviour—the pure smile on their faces in play; their simple friendships; and their absolute dedication and hard work  to competition.  These angelic attributes uniquely belong to children.  Louise Lee found her creative inspirations in children.  She expresses such joyful times and childlikeness with simple strokes.  From the smiling faces of children, we are enlightened to discover that happiness can be as simple and straightforward as that.  In children, we see hope and brightness in the future.</p> <p></p> Sun, 04 Nov 2012 00:07:05 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Om Mee Ai - Art Projects Gallery - November 10th, 2012 - December 15th, 2012 <p>Art Projects Gallery is proud to present “PARALLEL UNIVERSES”, a solo exhibition by Singapore-based Korean artist, Om Mee Ai, who is known for her unique geometric abstract paintings in intense monochromatic hues. </p> <p>Om’s abstract oil painting compositions convey a sense of serenity and calm that belies its complex framework and intricate structural order that is inherent from the artist’s meticulous painting process of repetitive “taping, layering, and wiping”.</p> <p>The technique of “taping, layering and wiping” is a process that demands great patience, focus and discipline. The rigorous process begins with using tapes to create an underlying grid structure onto the canvas that serve as guides. Om then adds a translucent layer of color onto the unmasked portions of the canvas and then wipes away portions as desired before the paint dries up. The tapes are removed to make way for the next layer. This basic process is repeated multiple of times, each time slightly shifting the grid and adding a translucent layer of color onto the previous layer. The wiping process imbues the painting with an added dimension of subtle variations in color tones and visual dynamism. As such, no two paintings can be created the same using this technique, each a record and reflection of the circumstances during its creation. </p> <p>Upon closer scrutiny, Om’s works reveal a deeper sensory experience brought about by the interplay of textures, colors, lighting and the artwork’s environ. The viewer makes personal connections subject to their individual emotions and interpretation, an objective the artist would like to achieve from her work, with each painting having the ability to invoke an internal reality that forms differently with each individual. The artwork titles in this collection, kept deliberately cryptic by the artist, further allow for this freedom, allowing the works to be appreciated without any pre-conception. Each painting becomes an abstracted microcosm of the real world; each exists in the mind of the viewer as a parallel universe.</p> <p>Om’s professional qualifications include a Master of Fine Art (Painting) from The Open University, UK in 2006, a Bachelor of Fine Art at the Royal Melbourne Institute of Technology (RMIT) University in 2003 and a Diploma in Fine Art (Painting) from LASALLE College of the Arts Singapore in 2002. Om has won many awards for her works, most notably achieving the feat of winning the prestigious UOB Painting of the Year Competition (Abstract Category) threes times in 2003, 2006 and 2007.</p> <p>Om has participated in solo and group exhibitions extensively. Her works feature in important collections such as the Singapore Art Museum (SAM), SAM Art Bank Collection, Ministry of Foreign Affairs, Ministry of Manpower, United Overseas Bank, Philip Morris Singapore, European Financial Group, INSEAD Business School (Asia Campus), and Mandarin Oriental Hotel in Singapore and Jakarta, Indonesia.</p> Wed, 10 Oct 2012 07:19:52 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Shi Mohan - ART SEASONS BEIJING - October 27th, 2012 - December 9th, 2012 Wed, 31 Oct 2012 03:00:16 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Huang Zhiyang - Art+Shanghai Gallery - September 2nd, 2012 - November 25th, 2012 <p style="text-align: justify;">The first solo exhibition of Huang Zhiyang in Shanghai will be held at Art+ Shanghai Gallery. Unveiled in our new gallery space, the exhibition will include a site-specific five-meter long miniature Chinese garden created by the artist displaying his new marble sculptures. The installation will rest among a labyrinth of ink paintings draped from the ceiling. <br /> <br /> The artist’s sculptural exploration is one concerned with the science of nature and study of life. The evolution of living organisms from cells into plants and human forms has been the underlining theme of Huang’s artistic career. A Thousand Plateaus examines the origin, structure and evolution of the artist’s rich repertoire of new ink paintings and marble sculptures in an epic gallery installation.<br /> <br /> The exhibition is running simultaneously with a large-scale public artwork featured in the HOT SPOTS at the 2012 SH Contemporary Art Fair. The site-specific installation will feature 10 new large granite sculptures by the artist at the entrance to the fair.</p> Tue, 23 Oct 2012 11:09:49 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Ye Nan - CHAMBERS FINE ART BEIJING - November 17th, 2012 - December 28th, 2012 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <div style="text-align: justify;" class="prEnglish"> <p>Chambers Fine Art is pleased to announce the opening on November 17 of Like Moths to a Flame: Recent Works by Ye Nan. This exhibition is a development of procedures first glimpsed in Phosphorous Red - Ye Nan's first exhibition at Chambers in 2010. In the past two years, Ye Nan has developed a more in-depth understanding and application of red phosphorous as a particular artistic medium. His bold and highly innovative thinking and experimentation show no signs of stopping, but are ever more active, accentuating the playful and conceptual aspects of the work.</p> <p>The title of the exhibition Like Moths to a Flame comes from Ye Nan's musings on the phenomenon of moths flying into flames. In scientific theory, the phenomenon is a result of the insect's built-in celestial navigation. Moths rely on their inherent compound eye structure to determine their direction in relation to moonlight. However, when an artificial light source appears, moths misidentify the artificial light as moonlight and fly towards it. A nearby artificial light is of course no celestial moon. Instinctively trying to maintain a constant angle with the light source, a moth flies around the light in a spiral trajectory, circle after circle, until it dies of exhaustion; or it flies into the flame. From a scientific perspective, the act of moths flying into flames is purely instinctual; on the other hand, in a literary sense, there is deep pathos. Though it appears to be a rather stupid suicidal act, the moths' immolation perpetuates the species' phototropism, which could be just the meaning of living for moths.</p> <p>In this exhibition, Ye Nan combines his creative process with the principle of moths flying into flames, as if to signify some sort of inner connection between his work or this exhibition and the spirit of moths. He covers the canvas surface with red phosphorous, turning the canvas into a large matchbox striker. He then strikes matches on the canvas like magical paintbrushes, creating light and energy in the dark. The energy leaves its traces on the canvas, forming an image within the painting frame. The whole process is akin to producing an artificial light that attracts moths to the image, constructing a scenario between the real and unreal. It is worth mentioning that human intervention did not ever cause moths to forgo their nature, in relation to Darwin’s theory of evolution. For the artist, none of these interpretations is important, what really matters is to embody the spirit of moths in the pivotal moment when trying to achieve the sublime, as flame turns into ashes.</p> <p>In recent years Chambers Fine Art has been committed to discovering and nurturing the careers of exceptional young artists, Ye Nan being one of them. Ye Nan was born in Hangzhou in 1984. Since graduating from the China Academy of Art, Hangzhou in 2006, he has produced an impressive body of work that is highly idiosyncratic both technically and thematically. The current exhibition features Ye Nan's most recent paintings on canvas as well as his latest video. Employing a strategy of substitution, the video captures fireworks explosion, which serves as a metaphor for Ye Nan’s painting process in slow motion. Such metaphorical device not only enhances the work’s playfulness, but also heightens a sense of being in the scene for the viewers. Meanwhile, elements from Ye Nan’s paintings- phosphorous and fire are also found in fireworks. This isn’t a mere coincidence. By transplanting the final moment of fireworks explosion from reality to canvas, Ye Nan also introduces to the viewers another evanescent beauty in moths flying into flames.</p> </div> <div style="text-align: justify;" class="prChinese"> <p>北京前波画廊荣幸地宣布将于11月17日起举办叶楠近作展《飞蛾》。本次展览是叶楠继2010年在前波画廊《赤磷》展览后的延伸。在这两年的时间里,叶楠 对赤磷这一特殊创作媒介有了更深层次的了解和运用。他大胆而极具创意性的思维和实践在作品中丝毫没有停顿的迹象,反而更加活跃,而且将作品中的趣味性和观 念性更加突显出来。</p> <p>展览标题《飞蛾》源自叶楠对飞蛾扑火这一概念的思考。从科学理论上来说,飞蛾扑火源于自身的“天文导航”,飞蛾依靠其特有的复眼结构以月光来判定方 向,然而当人类的光源介入,飞蛾会把人类的光源误以为是月光并投身而去。与遥远的月光不同,近距离的人类光源使得飞蛾仍然依凭本能使自己同光源保持着固定 的角度,从而以一个螺旋的轨迹不断旋绕着光源飞行,如此往复的飞行直至精疲力竭而死;如遇到火光,则会造成扑火。飞蛾扑火的结局从科学角度来讲,是出于本 能;另一方面,从文学的意义上来讲具有浓厚的悲情主义的成分,尽管飞蛾是一种看似蠢笨的自取灭亡,然而它的升华延续了这个物种的向光习性,这也正是飞蛾生 存的意义。</p> <p>此次展览中,叶楠将其作品创作过程与飞蛾扑火的原理相结合,仿佛在提示他的作品或者这个展览将会与飞蛾的生存精神具有某种内在的联系。他将红磷涂在 画布表面,使画布变成一张巨大的火柴皮,一支或一把火柴充当神奇的“画笔”在画布上摩擦,在黑暗中产生光和能量,最终这些能量在画布上留下痕迹,同时也形 成画面创作的形象。整个过程就像是在制造一种人为光源,在吸引着无数的飞蛾附着于画面,造成了一种介乎真实与非真实的情境。值得一提的是,人为因素的介入 并未使得飞蛾丧失其天性,这一切似乎与进化论有所联系。然而,对艺术家来说,这些都不重要,重要的是在灰飞烟灭的一瞬间,在追求璀璨和巅峰瞬间的时刻,有 一种如飞蛾般的精神。</p> <p>前波画廊近年来一直致力于发掘优秀的年青艺术家。叶楠1984年出生于杭州,他常以极具个性的作品引人入胜,更以独具匠心的观念征服观者。展览在推 出他最新架上绘画的同时,也将展示他最新的录像作品——采用“错位”的表现手法,通过捕捉“烟花爆发”的过程来隐喻他在绘画过程中的慢动作,如此表现手法 不仅增强了趣味性,同时也强调了现场感。与此同时,他使用了烟花中部分相同的材料(磷与火),这不只是巧合,在将现实烟花爆发的最后瞬间移植到画布上的同 时也向观者介绍了如飞蛾扑火般另一种瞬间的绚丽。欢迎届时莅临。</p> </div> <p></p> <p></p> <p></p> Sat, 01 Dec 2012 06:44:22 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list ZHANG Da Zhong - Connoisseur Art Gallery, Hong Kong - November 9th, 2012 - November 20th, 2012 <p style="text-align: justify;">Connoisseur Art Gallery is pleased a new solo exhibition of renowned artist ZHANG Da Zhong. Known for his paintings of Chinese female Red Guards portrayed in dramatic and theatrical settings, his art draws empathy from audience and at the same time, inviting audience to solve a mystery behind the story of an intriguing subject. Zhang’s works transform plain canvases into absorbing environments within historical contexts.</p> <p style="text-align: justify;">In comparison to the first solo exhibition eight years ago, the artist now depicts his subjects in very different settings, mainly in lush natural surroundings amongst beautiful blossoms and against mountainous backdrops. The collection expresses a sense of calmness and intrigue.</p> <p style="text-align: justify;">Regardless of the paintings’ historical and political references, Zhang’s females are always beautiful and mesmerizing. The artist uses beauty as his main theme in his portraits because to him, “art reflects people’s life and pure beauty”.</p> Sat, 03 Nov 2012 19:38:21 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Chen Jiagang - Contemporary by Angela Li - November 9th, 2012 - December 2nd, 2012 <p>Contemporary by Angela Li is proud to present “The Great Three Gorges”, a solo exhibition of latest works by internationally acclaimed Chinese photographer Chen Jiagang.</p> <p>Chen, an artist as complex as his works, is a former architect and businessman. In this much anticipated show, following on from his retrospective at the Hong Kong International Art Fair earlier this year, he brings us an exciting new collection of works. Debuting some dramatic new techniques and portraying powerful panoramic effects, combined with his discerning eye for detail, Chen offers us his new “Great Three Gorges” series.</p> <p>The Three Gorges Dam is not only a monumental engineering achievement; it has bought us some undeniable world records. It is the biggest dam, power plant and largest consumer of dirt, stone, concrete and steel. But also, on top of that, this project is responsible for the displacement of in excess of 1.13 million people, suggested as one of the largest human resettlements in modern times.</p> <p>Along with its spawning environmental problems like water pollution and landslides, this rising controversy makes it easy to over look that it is, in fact, the world’s biggest manmade producer of electricity from renewable energy. Hydropower is the centerpiece of one of China’s most praised green initiatives along with a plan to rapidly expand renewable energy by 2020. In this, his current series of works, Chen tries to capture some of these landscapes, unearthed by the relocation, some which are desolate and others that are now highly urban as a result.</p> <p>On his newly created “Great Three Gorges” series, Chen Jiagang said, “Destiny - the relationship between one’s childhood experiences and adult conduct is destiny. I was born in Chongqing and grew up in the Three Gorges Reservoir area, living in such places as Fengdu, Wanzhou and Yichang. I’ve photographed the Three Gorges countless times, but I didn’t really begin to focus on the Three Gorges until an experience in 2009. That was when I noticed that the fog over the Three Gorges Reservoir was growing denser and more prevalent. Why is this? One reason is the changes in the overall climate of the area since the construction of the Three Gorges Dam. Another reason is the dust that is left over after the human plundering of resources. This symbol, and the waters beneath the fog, are a microcosm of China today. Following the undulating red songs of the reservoir region, passing through the empty buildings sealed off in the anti-corruption campaigns, one can see the gaping holes left by the trees transplanted into the city and the despondent shadows of the people trying to resettle in the area. </p> <p>Covered by the mist and compounded by the sudden rise of the massive chemical factories, my heart is at a loss. Is this really where I lived as a child? No, it looks like Africa, like the Middle East, like those images of pillaged third world countries. It created a beautiful life for a different civilization and a different place. I can only step back, using close-up methods to view things, giving ample observation room to the details, further stepping through history to express my anxiety about the destruction of my childhood dreams.”</p> <p>The monumental scale of these photographs draws the viewer into the struggle between man and nature, capturing the destruction and isolation of China's big cities but also a yearning for its past. Chen’s choice of contrasting and fading colours hints at nostalgia and memory, enhanced by the juxtaposition of his fleeting ‘phantom’ figures onto the grey, fixed landscape. The appearance of a young woman dressed in traditional qipao adds a sense of illusion to the images recalling a glorious past when the ‘revolutionary age’ was so intrinsically bound up with the industrialisation of China. The qipao, once banned, was considered the attire of the intellectual elite. Thus the woman becomes a binary symbol, one of modernity but also of the entrenched bureaucratic power of the country’s capitals, absorbing the wealth and resources or the land.</p> Sun, 04 Nov 2012 05:22:36 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list 林天行, 熊 海, 司徒乃锺, 沈 平, 黄孝逵, 林湖奎, 何百里, 王秋童, 王无邪 - Dongguan Wan Fung Art Gallery - November 10th, 2012 - November 23rd, 2012 <div><span style="font-size: medium;" size="3">此次由云峰画苑和现代水墨香港学会联合主办的“港水港墨—香港水墨作品展”是由<b>王无邪、王秋童、何百里、林湖奎、黃孝逵、沈平、司徒乃钟、熊海、林天行</b>等近年来的近40幅水墨作品组成,为观众展开了一幅多姿多彩的香港</span><a href="http://zlk.sssc.cn/w/%E6%B0%B4%E5%A2%A8%E7%94%BB"><span style="font-size: medium;" size="3">水墨画</span></a><span style="font-size: medium;" size="3">卷。与一般地域性展览不同的是,此次展览的水墨作品风格差异巨大,有</span><a href="http://zlk.sssc.cn/w/%E4%BA%BA%E7%89%A9"><span style="font-size: medium;" size="3">人物</span></a><span style="font-size: medium;" size="3">,有</span><a href="http://zlk.sssc.cn/w/%E8%8A%B1%E9%B8%9F"><span style="font-size: medium;" size="3">花鸟</span></a><span style="font-size: medium;" size="3">,也有</span><a href="http://zlk.sssc.cn/w/%E5%B1%B1%E6%B0%B4"><span style="font-size: medium;" size="3">山水</span></a><span style="font-size: medium;" size="3">, 有传统的岭南风格,也有现代的实验水墨,展示了香港中西交汇,多元文化并存的特点。为观众打开了一个了解香港艺术的窗口,同时,这也是一幅描绘香港城市面 貌的画卷。画家们用画笔记录了香港、深圳等地的历史地理、街市风情。他们从各自角度体现着不同的形式风格、语言,彰显着各异的学术理念和价值追求,向祖国 首都的艺术界同行展示他们的实践结果。</span></div> <div><span style="font-size: medium;" size="3">    </span></div> <div><span style="font-size: medium;" size="3">    此次展览画家们将亲临开幕式现场,集中展示他们的艺术创作精品,并寄望通过这样的艺术交流,加深香港与內地艺术家的相互了解与认识,共同切磋探讨,进一步促进京港两地艺术的创新与发展。欢迎各界朋友到場欣賞及交流。</span></div> <div><span style="font-size: medium;" size="3"> </span></div> <div><span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>王无邪</b>一九三六年生于广东省,一九六一至六五年留学美国,一九七一</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>年获美国纽约洛克菲勒三世基金会艺术研究奖助、一九九八年获</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>香港艺术发展局艺术成就奖、二○○七年获香港特区政府铜紫荆星章。历任香</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>港中文大学校外进修部行政助理、香港博物美术馆助理馆长、香港理工学院之</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>设计学院首席讲师等职。多次参加国内外重要展览。作品获世界各地主要美术</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>馆或博物收藏。着有艺术及设计专书,在香港、台北、纽约、巴塞隆纳及印度尼西亚</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>班东等地以不同文字出版。现为香港中文大学艺术系兼任教授,并任香港特区</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>政府康乐文化署博物馆专家顾问。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>王秋童</b>又名王翰,多年来潜心研究中国画都市水墨技法的表现方法,其</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>水墨画作品经常参加国内外美朮作品展并多次获奖,近百家报</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>刊、杂志如《美朮报》,《大公报》《文汇报》,《台湾中央时报》,《世界</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>知识画报》,《美朮》,《画廊》,《艺朮界》,《美朮向导》,《江苏画</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>刊》,《美朮观察》,《欧中经贸艺朮投资》.......曾发表其作品及数据或整版</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>报道,作品广获艺朮机构及收藏家收藏。现为香港文化艺朮交流协会会长、香</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>港美朮家联合会主席、中国画学会创会理事、中国美朮家协会会员。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>何百里</b>1945年出生广州,旋即迁居香港。接受西方教育,幼承庭训,热</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>爱国粹,尤好书画。早岁研习岭南画派技法。萌志发展中国山水</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>绘画。弱冠,举办首届个展,作品以香港风光写生为主题。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>1970至1980年间,风格由写生变为大写意水墨山水,横长画面,取势旷阔,</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>用笔豪迈,格调一新。 1984年移居北美洲,辟室「自在轩」,潜心艺事,研</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>究宋元山水绘画,复博览欧西各大美术博物馆,领悟西洋画艺术之特质,揉合</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>为用,创立了风格突出的「何家山水」。又捕捉锦绣夺目的加国枫彩,创制色</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>彩千变万化的秋色系列。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>回归后谱写气象万千的祖国名山美景,本山川之态,强调意象之美,构思移形入</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>意,升华象外意境,笔墨技法,着着随机,流动和幻化的气韵表现再添新貌。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>何氏享誉国际艺坛数十年,获各方奖誉。出版《何百里画集》《百里境界》</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>《何百里——扇面及小品精选》《百里自在》及《印象之美》。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>林湖奎</b>1945年生于广东省揭阳县。现为中国美术家协会会员。早年毕业</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>于艺专,从 梁伯誉习山水,其后立雪于赵少昂门下。擅长花鸟、</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>鱼虫走兽。作品清新富诗意,具个人风格。自1978年起,在 中、港、台及世</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>界各地举行个展,作品获北京美术馆、广东省美术馆、汕头文化博物馆、台湾</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>台中博物馆、香港文化博物馆、星加坡国家博物馆、澳洲澳华博物馆、中国外</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>交部驻香港特派员公署、香港中联办等收藏。 </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>林湖奎的作品屡获嘉奖:1991、92及95年获美国水墨画会26届美都分会奖、</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>27届评判奖及32届周年展全场最佳奖;1992、94年于美国新泽西州视觉艺</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>术中心会员展获优异奖;1996 年于美国中大西洋区水彩展获史明基宇宙画笔</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>奖,于美国路易斯安那州大学动物艺术展获优异奖; 2007年,作品《黑豹》</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>于当代中国作家书画展获优秀奖。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>出版著作有:《 金鱼‧锦鲤 》、《 海水鱼‧热带鱼 》、《林湖奎作品精选》、</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>《 林湖奎画集 》 等共七辑。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>黄孝逵</b>1946年生于重庆。1969年毕业于上海中国纺织大学机械系。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>1978年移居香港。九十年代开始,经商之余创作水墨画。《云</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>起》于《香港当代艺术奖2012》获优秀艺术家奖;《壁生千刃》于《香港当代</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>艺术双年奖2009》获奖;《轻舟》于《香港当代艺术双年展2001》获奖;《天</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>意》获第九届全国美展优秀奖;《清水居写生图》获第十届全国美展优秀奖。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>《三峡行云流水图》、《启--辛亥香港百年祭》获中国美术馆收藏:《三峡行</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>云流水图》收录于《二十世纪中国美术:中国美术馆藏品选》;《坐看斜阳下</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>高楼》、《天意》、《轻舟》、《秋思》、《壁生千刃》获香港艺术馆收藏;</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>《余辉》、《顶层覆式》 《幕墙山水之深圳新光华广场》获深圳画院收藏。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>1947年9月生于北京,安徽合肥人。1973年入浙江美术学院学习。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>1980年移居香港,作品曾参加全国美展、2010年北京国际双年展以</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>及香港当代艺术双年展。作品曾被中国美术馆、香港艺术馆、香港文化博物</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>馆、香港大学美术博物馆、中国艺术研究院和天津艺术博物馆收藏。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>现主持香港心源美术出版社,并在香港中文大学校外进修学院、香港大学专业</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>进修学院担任水彩画导师。现为中国美术家协会会员、香港画家联会副会长和</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>香港水彩画研究会会长、香港艺术发展局视艺界评审员及深圳画院客座画家。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>司徒乃锺</b>中国美术家协会会员,专业画家,出生于广东开平书香世</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>家,祖父为晚清拔贡、名诗人司徒枚,父亲是岭南画派大</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>师,司徒奇(苍城),得父亲翰墨因缘,先后在国画方面拜赵少昂、关山月、杨</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>善深、黎雄才、陈荆鸿、林近等大师为师。青年时代负笈加拿大,先后均以全</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>甲最佳成绩毕业于Capilano学院艺术系及Emily Carr省立美术学院油画系。曾</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>在世界各地举行数十次个展及双人展。作品获加拿大渥太华国家人文博物馆、</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>香港艺术馆、香港文化博物馆、香港海事博物馆、台北国父纪念馆、台湾屏东</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>省议会大楼、中央人民政府驻香港特别行政区联络办公室、香港特区政府驻北</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>京办事处、北京人民大会堂、中国美术馆、南京博物院、东莞岭南画院、山东</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>烟台群众艺术馆、广州岭南画派纪念馆、广州十香园纪念馆、开平市美术馆、</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>江门市美术馆及澳门基金会等收藏。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>熊</b><b> </b><b>海</b>1957年生,80年随杨善深老师习画。84年至今任教于香港大学专业</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>进修学院,曾兼任香港中文大学艺术系讲师及香港大学建筑系助理</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>教授。 92年获「当代香港艺术双年展」市政局艺术奖,97年获香港艺术发展</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>局颁「视艺发展奖」,99年获第九届全国美术作品展览「优秀奖」,09年获</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>香港大学专业进修学院颁「杰出校友」。96年于香港艺术馆个展。06年获香</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>港特区政府颁「民政事务局局长嘉许奖章」。现任香港特区政府康乐及文化事</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>务署博物馆专家顾问,香港大学专业进修学院客席教授,香港美术家协会国画</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>委员会副主席,中国美术家协会会员,深圳画院客座画家,珠海画院艺术顾</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>问,香港艺术发展局视艺界评审员。作品获中国美术馆、英国大英博物馆、香</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>港艺术馆、国立台湾美术馆、台湾国父纪念馆、深圳画院、国泰航空公司、香</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>港赛马会、水松石山房等收藏。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>中国美术家协会会员,香港国际艺术交流协会主席, 文化部中国</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>画学会创会理事,深圳画院客座艺术家。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div> </div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div><b>林天行</b>1963年10月生于中国福州市。1984年移居香港。1990年毕业于中央美术学</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>院中国画系。1991-98年任教于香港大一艺术设计学院。曾在北京、香港、纽</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>约、柏林、米兰、首尔、新加坡、台湾等地举办过个人画展多次,作品入选百</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>年中国画展、全国美展、改革开放30年画展、深圳国际水墨双年展和当代香</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>港艺术双年展等,以及世界各地联展。作品被中国美术馆、国家画院、广州美</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>术馆、深圳美术馆、香港艺术馆、香港文化博物馆、香港礼宾府等,以及许多</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>中外机构与私人收藏。出版有个人作品专集十多种。</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>2005及2008年两幅描写香港景色作品,先后代表香港,随神舟六号、七号升</div> <span style="font-size: medium;" size="3"><span style="font-size: medium;" size="3"></span></span> <div>往太空,并出版有大型画册。</div> </div> Wed, 14 Nov 2012 02:03:50 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Louise Bourgeois - Faurschou Foundation (Beijing) - October 27th, 2012 - March 24th, 2013 <p>Louise Bourgeois has throughout the years experimented with a wide range of media spanning across sculpture, painting, drawing, graphics, installation and sound. She has expressed herself in materials ranging from the classical marble and bronze, over latex and nylon, ripped and recycled garments, and found ready-mades.</p> <p>Louise Bourgeois was born in 1911 in France. In the late 1930's she married an American art historian and moved to America. Here she lived here she spent the rest of her life. In the 1980's she had her great international breakthrough and today she is internationally considered one of the most respected modern as well as contemporary artists.</p> Mon, 31 Dec 2012 22:31:03 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Zao Wou-Ki - FEAST Projects - October 5th, 2012 - February 7th, 2013 <p style="text-align: justify;"><b>FEAST Projects is proud to announce <i>ZAO WOU-KI – BEYOND</i>, a solo exhibition of watercolour paintings by the prominent Chinese French artist ZAO WOU-KI. </b></p> <p style="text-align: justify;">ZAO Wou-Ki (趙無極), at 92 years old, is a Chinese French painter and one of the world’s most prominent contemporary artist. Highlights of his life long achievements include: election to the Académie des Beaux-Arts in France, the decoration of Grand Officier de l’Ordre de la Légion d’Honneur by the President of France, the Praemium Imperiale Award for Painting by the Japanese Art Association in Tokyo, Japan and numerous important solo and retrospective shows in museums throughout the world, the Galerie Nationale du Jeu de Paume in France; the National Art Museum of China; and the Hong Kong Museum of Art, to name a few. <br /><br />On view will be a group of exceptional, large watercolour paintings coming directly from the artist’s studio, dated from 2004 to 2009. They belong to the most recent period in Zao Wou-Ki’s work: a series of large format watercolours that have dominated his pictorial output since 2004. The works show a masterly control mixed with a spontaneous fluidity. Some were painted from nature, directly observing subjects such as flamboyant flowers, intertwining branches or a symphonic landscape. They convey with freshness and immediacy Zao’s intimate appreciation of Chinese and Western culture.<br /><br />A few works will be previewed during FINE ART ASIA, Asia’s leading international fine art fair, in Hong Kong from 4 – 7 October 2012. <br /><span></span></p> <p style="text-align: justify;"><span>A fully illustrated colour catalogue will be available at the time of the exhibition. <span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span><span style="text-decoration: underline;"></span></span></p> <p><strong>Gallery is closed from 16 December 2012 to 1 January 2013 and reopens on 2 January 2013</strong></p> <p></p> <p></p> Fri, 21 Dec 2012 00:55:48 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list Xie Nanxing - GALERIE URS MEILE BEIJING - November 10th, 2012 - January 13th, 2013 <p>The most interesting painters today are those who remain compelled to advance the medium’s potential through experimentation and innovation. In this regard, Xie Nanxing (*1970, Chongqing, China; lives and works in Beijing and Chengdu, China) is a maverick. “THE SECOND ROUND WITH A WHIP,” his solo exhibition at the Beijing branch of Galerie Urs Meile, Beijing-Lucerne, presents two new series of large-scale oil paintings. One, informally called the Canvas Print series, is characterized by the works’ stippled surfaces. Seen over time, these whorls and dots of pigment give way to vivid scenes that are mutually constructed by the artist and the viewer. The second series on view is loosely based on illustrations found in an interior design catalogue, which Xie Nanxing transforms into spaces redolent with references both personal and historical. Thematically, the exhibition explores what the artist calls the “ashes” or “dust” found in every representation.<br /><br />In the works on view in “THE SECOND ROUND WITH A WHIP,” there are no clear references to a familiar story. Instead, we are forced to look hard at what unfolds before us. To generate the exploded pointillism of the Canvas Prints, the artist places a panel of rough, woven canvas between his brush and the painting; the<br />daubs of color that comprise the nebulous figures in the finished work are the result of paint passing through the cloth and onto the work’s surface. When the Canvas Prints are viewed with care, forms begin to emerge from the ashes: the figure of the milkmaid can be made out, and Disney’s seven dwarves appear to create some mischief. As in his previous work, the scenarios are freighted with allusions to desire and violence, though in their reduced state they cannot spell out their conditions. Like finely drawn maps of territories long ago renamed, they point to an elsewhere we can only imagine, but can also be admired for their own aesthetic qualities. <br /><br />As the German cultural critic and architect Siegfried Kracauer (1889 – 1966) observed, “Spatial images are the dreams of society. Wherever the hieroglyphics of these images are deciphered, one finds the basis of social reality.” <sup>1</sup> For Xie Nanxing, these hieroglyphs are etched in the fashionable rooms appearing in the pages of <i>Dazzling Colorful Home Furnishings</i>, a look book for would-be interior decorators whose images the artist has appropriated and customized for four of his new paintings. These works are not “about” the tastes of China’s nouveau riche. Instead, Xie Nanxing investigates how even the most innocuous pictures are crawling with symbols and associations. These include the cherished fantasies of the artistic avant-garde of the early 20th century; hence the irony implicit in the title <i>Improvisation 500 (Oblivion)</i> (2011, oil on canvas, 190 x 290 cm) which alludes to the Russian artistic pioneer Wassily Kandinsky’s <i>Improvisations</i>—a large, numbered series created with a spontaneity meant to counter the materialism of everyday commodity culture. In another of these works, <i>Cubist Night</i> (2011, oil on canvas, 185 x 265 cm), the hieroglyphs are personal. Shrouded in an eerie blue haze that is akin to the shade that dominates the artist’s 2008 <i>The First Round with a Whip</i> series, the faces of the artist’s immediate family surface on the model living room’s walls and furniture, haunting the room like disembodied spectres.<br /><br />Those who have seen Xie Nanxing’s earlier works, whether in reproduction or in major international exhibitions such as the 48th Venice Biennale (1999) and Documenta 12 (2007), can easily recall the strange beauty of his exactingly executed canvases, which seldom tell us anything directly but leave us with a great deal to consider. If his recent paintings don’t look like the previous ones, this is because Xie Nanxing refuses to lapse into a signature style. The new paintings on view in “THE SECOND ROUND WITH A WHIP” may offer us the ashes of visual culture, but this exhibition invites us to stare directly into the flames.<br /><br />Text: David Spalding<br /> <br /><sup>1</sup> “Über Arbeitsnachweise,” Frankfurter Zeitung 17 June 1930, cited in Karsten Witte, “Introduction to<br />Siegfried Kracauer’s ‘The Mass Ornament,’” New German Critique 5 (Spring 1975), p. 63.</p> Fri, 09 Nov 2012 00:33:08 +0000 http://www.artslant.com/cn/Events/list http://www.artslant.com/cn/Events/list